Cinderella – Lawrence Batley Theatre, Huddersfield

Writer: Andrew Pollard

Director/Choreographer: Rachel Gee

Despite enlisting the talents of Andrew Pollard, panto veteran and writer of numerous memorably silly shows for Northern Broadsides and the Stephen Joseph Theatre, and an impressive list of performers from such local companies as Mikron and Wrongsemble, the final result is a trifle disappointing.

Maybe it has something to do with Pollard’s script: he basically tells the familiar story with routine insertions of traditional elements, an extended drenching of the audience with water pistols, for instance, or a rather tired version of singing-a-song-to-keep-the-monster-at-bay. Even the list of audience members to be greeted falls rather flat, with only four names one of whom seems not to be present – this, of course, not Pollard’s fault, but it seems typical somehow.

Nice touches include the early appearance of the Fairy Godmother (Shorelle Hepkin, broad Yorkshire and feisty with it) determining to find a way of rewarding Cinderella – her disguises (or, rather, non-disguises) are fun, too. The magic of the transformation may be a touch lacking, but Cinders rising up on her illuminated skateboard serves as a very effective first act curtain.

The star of the show is undoubtedly Alyce Liburd as Cinderella, wonderfully expressive, singing well and moving better. In fact the highlights of the show team her and Hepkin or Thomas Cotran with the splendidly lively six-piece Young Chorus (one of two similar sextets) in such songs as Everybody Needs Somebody to Love (a rollicking kick-start to the evening) and a rather nice Sleighride.

Cotran works determinedly as Buttons, with some great moments on a scooter, but never really invests the part with the pathos it needs. Daniel Lacey (Prince Charming) is low on charisma, though he sings well and partners Liburd effectively. Sonia Wrightson is great fun as Dandini, with excessive moustache and even more excessive Italian accent, and manages the transformation to Danielle (a female from Bradford!) neatly.

One of the key elements ofCinderellais that it hastwo Dames, the Ugly Sisters, here named Brighouse and Rastrick. In this version Baron Hardup is no longer with us and these two beauties rule the roost. An entrance through the audience, playing trumpet and trombone, surrounded by the Young Chorus, promises much, but James McLean and Pete Toon never quite live up to it, wearing grotesque costumes with aplomb, giving us medleys of old hits, straying not a million miles away from the knuckle with their gags, but never quite establishing the rapport with the audience. To the disappointment (or, perhaps, relief) of the gents in the front stalls, no audience member is singled out, a major loss – this from the security of Row G!

Costumes and sets look well, but the fact that no individual is named for either suggests a certain generic quality. Similarly with Robert Cooper’s dramatically upfront music: it’s never the same without someone in the pit you can play off.

Runs until 31st December 2023